English 1101 Peer Review Worksheet Getting Dialogic Part 2

English 1101 Peer Review Worksheet Getting Dialogic Part 2

Below are some questions to consider as you review/revise both your own draft and the drafts of your peers. These questions are inspired by the rubric categories Rhetorical Awareness, Design and Organization, and they are identical to the questions I will ask as I evaluate your projects.

Cut-Up Method (Approach #1)

Has the composer made plans to create 5 different artifacts (each of a different genre)?

How well does the content of each artifact correspond to its genre (i.e. does the haiku read like a haiku? Is the letter organized like a real letter addressed to a specific audience? Does the petition sound like a real petition advocating for a specific cause?)?

What advice can you give the composer about Design?

• Has he or she given thought to the aesthetic presentation of his or her artifacts? Take note of font choices, spacing, boldness, italics, color, pictures, backgrounds, borders, titles, etc., and tell the composer what is working and what is not.
• How is he or she planning to submit the 5 artifacts? As a slideshow of photographs, as separate items submitted by hand, as a collage, some other idea?

Colbert Method (Approach #2)

Has the composer established or made plans to establish a dialogic relationship between one side of the screen and the other? That is, can you distinguish two distinct voices competing for attention in the composer’s video?

Are the interruptions made by the second voice memorable, and do they give the video momentum? Has the composer made an effort to be as varied as possible with his or her comments (remembering that the voice interrupting Colbert’s diatribes duringThe Worduses wordplay, puns, questions, sarcasm, cheap shots, pictures, timely social commentary, tangential remarks, sober reminders, etc.), or do all or most of the comments sound the same?

What advice can you give the composer about Design?

• Has he or she found a way to visibly mark the distinction between the video’s voices (via split screen, subtitles or cue cards?)
• If the composer has included additional multimodal elements (pictures, a soundtrack, a credit sequence), are these elements appropriate? Do they add rhetorical impact?

Non-Verbal Narrative Method (Approach #3)

Does the composition rely mostly on non-verbal gestures, movements or poses to express its arguments, or is it overly reliant on text?

Are you able to interpret the non-verbal narrative(s) meaningfully?

• Can you figure out what the gestures and poses are supposed to mean, or could the composer do more to exaggerate the significance of certain non-verbal elements?
• What about organization—do the photos or dance segments flow in an understandable and suggestive sequence, or do they seem arbitrarily arranged, as if you are looking only at pieces and not at a story?

What advice can you give the composer about Design? Has he or she given thought to the aesthetic presentation of his or her artifact? Take note of setting/background, costumes, props, background music and overall quality of the video or photos.

 As for the Conventions category, I will be looking for a properly formatted Works Cited page for any images, songs or websites you used in composing your artifact. Technical things like video sound quality, clarity and legibility of photos, and sentence level issues in text also fall into this category.